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Miss Gibson's Strathspey
e.ferguson
Sept. 27, 2001, 4:49 p.m. (Message 27557)
On 26 Sep 2001, at 21:14, Patricia Ruggiero wrote: > <..<peep>..> I would like to know what folks think about "staying > in the middle" as the 1st Cpl finishes corner-partner turns > before dancing three-hands-across with the supporting couples. > I find it satisfying to finish the left-hand turn with my > partner at the set lines and then surge forward toward the 2d > cpl for the hands across figure; staying in the center defeats > this, to my mind. > I should add here that I don't have the original/official > instructions for this dance; <...> ==================== The original instructions (Pocket Book 32+Leaflets, p. 41) say: 17-24 1st couple turn first corners ..... (etc) .... and partner with left hands, finishing ready for 25-28 Right Hands across, 1st man with 3rd couple ...<etc>..., passing right shoulders into ... ========================= Our cherished "Blue Manual" says: 24 1st couple stay in the centre of the set at the end of the left hand turn ready to dance right hands across. 28 Similarly, 1st couple pass R shoulders in the centre of the set to dance left hands across. They do not dance out to the sidelines. ======================== TACnotes says: 23-24 !st cpl dance a wide, three-quarters LH turn & flow into RH across on bar 25 and adds 28 As 1st cpl pass R shldrs, 2nd and 3rd cpl turn inwards ready to give LH. Do not dance out to sidelines. Each group can of course make its own choices, but if you wish to accept any of these "RSCDS authorities" I fear that your "surge" stands defeated. Eric Eric T. Ferguson, van Dormaalstraat 15, NL-5624 KH EINDHOVEN, Netherlands tel: (+31)(0)40-243 2878 fax:40-246 7036 e-mail: x.xxxxxxxx@xxxxxxx.xx
> ======================== > TACnotes says: > > 23-24 1st cpl dance a wide, three-quarters LH turn & flow into RH > across on bar 25 > > and adds > > 28 As 1st cpl pass R shldrs, 2nd and 3rd cpl turn inwards ready to > give LH. Do not dance out to sidelines. > And this is the key to making it work if 1st cpl do indeed stay in the center at they pass R shoulders. If the supporting couples dance out to the sidelines it does a few things: 1. it creates a wide sweep that 1st cpl do not get to enjoy, and so changes the pace between 1st cpl and the supporting cpls 2. it requires supporting cpls to drop hands on the R hands across slightly earlier, leaving 1st cpl hanging in the middle 3. (a result of the first point) it leaves 1st cpl hanging around in the middle waiting for the supporting cpls to come back in 4. visually, it is not as effective (and therefore, perhaps, not as pleasing for the participants) if the dancers are not all doing the same thing. Consider: - what seems to be the method that is currently in vogue at least in NA: all 3 cpls sweep out to the side and sweep back in, providing an opportunity for a changing dynamic and ALSO a lovely covering opportunity at the end of the RA as well as at the end of the LA as the wheels momentarily become straight lines. - the "RSCDS approved" method: RA/LA is danced at both ends, creating parallel wheels, and like magic the dancing cpl appears at alternate ends in the two halves of the figure, and the challenge becomes having them change ends sociably but without colliding and with a minimum of fuss. (Similar to, for those who know what I mean, really good shedding in highland dance - the foot moves from the back of the leg to the front and back again, but if the dancer is really good at, you hardly see it happen - it is just there). In a way this is more difficult for the supporting cpls in particular, since they don't have far to travel. And dancers must remember that the sweep out at the end should be covered. Both methods have their appeal, for different reasons. The key is having all in the set agree to which way they are dancing it (either beforehand, or in very quick reaction to what they find the other couples want). happy dancing! (together) Norah Link (Montreal, QC, Canada)
Well, the first thing I learned is that the Pocket Edition of Bk. 32 includes Leaflets! Aaarrgh! How many times have I pulled my hair at not having, or so I thought, the official instructions to quite a few popular dances??!! How could I be so dense, you ask? (Oh, easy...) A friend gave me her old, but complete (up to Bk. 38), set about a year or so ago, and I just never noticed this feature..... But back to the dance in question -- Eric's note made it clear that "staying in the middle" is definitely the manner in which the transitions are executed. Malcolm's note was instructive for suggesting that the devisor *wanted it that way* -- I guess that's what I wanted to know: "how come it's this way and not 'out to the setlines'?" Because the devisor said so, that's why. Oberdan's and Norah's clear explanations of how such transition(s) can be effected in a smooth, but also powerful manner were much appreciated -- and will be saved for future Miss G's dancing opportunities. Pat